As the nation once again endures the annual parade of celebrity self-congratulation known as the Grammys, one might be tempted to ask, “Does anyone actually enjoy this?” Rest assured, the answer is probably no. That’s unless watching famous musicians stumble upon political opinions is your cup of tea. This year’s gala was no exception, and spectators got to witness a remarkable showcase of singers flexing their newly-minted political muscles, much to everyone’s amusement.
Take Billie Eilish, for example. Fresh from winning an award, she quickly shifted gears from music to social justice, condemning ICE’s handling of illegal migrants with the kind of revolutionary fervor usually reserved for serious campus protests or heated Twitter debates. Her rather paradoxical logic, claiming no one is illegal on stolen land, might have been more well-received if she hadn’t been standing on quite the illustrious piece of “stolen” property herself. The Native American Fagawi tribe humorously suggested she might like to return her lush estate, offering an indigenous sacrifice in exchange. Somehow, Eilish seemed less keen on following her own rhetoric to its logical conclusion.
And then there’s Bad Bunny. Known for his exuberant performances as much as his vibrant wardrobe, he scooted into the spotlight to toss his hat into the anti-ICE ring, requesting officers to abandon their duties. His impassioned plea was met with some lighthearted mockery at the Grammys, as ICE officers humorously questioned what terrors might befall them if they ignored the words of a vocal artist. The irony, of course, lies in Bad Bunny’s lucrative upcoming gig at the almighty American sports shrine, the Super Bowl—a stage that seems both fitting and ironic for such a forceful critic.
The spectacle continued with singer Kehlani, opting for her own version of risky activism, wrapped in not much more than controversy and scant clothing. Her rallying cry for young minority men to confront law enforcement was probably not the motivational uplift she envisioned. What it lacked in legal wisdom, it made up with the brashness of youth. This strategy appears dubious at best unless being behind bars is where one aims to extend their societal impact.
So the Grammys rolled on, a curious blend of glamour and gauche gestures toward political advocacy. When the music itself seems an indistinct hum in comparison to the eyebrow-raising speeches, it becomes abundantly clear these platforms have evolved—or devolved—into a stage for anything but their original intent. It’s a textbook case of art meeting awkward activism, where the profound succumbs to the pointedly peculiar. Meanwhile, the audience is left questioning if the music really matters anymore or if it’s merely the background score to yet another theatrical act in the grand play of celebrity culture.
